All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
This is sort of a proto-noir, but is more notable as a curiosity these days than an actual good movie. The Clifton Webb performance is top notch, though his character perhaps meant to be read as close and analog to a gay man as you could show on screen in 1944 is incredibly problematic. Dana Andrews plays the femme fatale (?) aptly, and the script gives her a lot to work with. This movie hinges on the Tierney character though, and he just isn't good enough to sell obsession with a murder victim. His curiously flat performance keeps the movie from being a classic.
i can't believe laura palmer is still alive
This review may contain spoilers. I can handle the truth.
1. not really a fan of having lydecker's emotions towards laura described as "love" by so many people - he manipulated and controlled her, and their relationship was toxic at best
2. not really a fan of laura thinking the murder was her fault? we as a society blame women far too much for the things they don't do or don't say or don't wear, and it's absolutely not laura's fault that a man she thought of as a friend was infatuated with her
that being said - this film is spectacular, and beautiful, and spectacular
Excellent cast with Clifton Webb, Gene Tierney & Dana Andrews. Interesting twists & turns in the plot.
Masterful film noir!
A perfect little jeweled egg of film noir, occupying its very own hermetically sealed world of kinks and signifiers and lusts. The whole thing is basically a warped parody of heterosexual couple formation hiding inside an audaciously unlikely murder mystery, immaculately shot and acted, with one of the best performances in all of 1940s cinema, courtesy of Clifton Webb's nihilistic queen bitch of a radio host. Elegantly fucked up, and one of the high water marks of its great genre.
Film #6 in Letterboxd Season Challenge 2016–17
Laura always knows the perfect tableau to use as a shot, like many of the greatest films do; unlike most, this one also knows the best way to get to it. The camera moves around, always capturing the characters in a way so as to tease out the web of relationships that they exist within, constantly cutting through space at unpredictable angles to preserve the thread of these interactions and maximize the viewer's understanding of the space and its contents. Sometimes the intention is obvious—as when Mark McPherson sleeps and the camera glides left to show a portrait of Laura Hunt watching over him—and other times it is a bit sneakier and subtler,…
Fantastic portrait of obsession and possessive desire. Really well acted and enjoyable, Laura is a great psychological portrait of a man obsessed, the woman who is the object of his desire, and the other men in her life. A great old movie that shows the best of the silver screen.
If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…